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The History of Cinema Exhibition in Exeter 1895 - 1918

Alex Rankin

(The text of this dissertation is copyright Alex Rankin, 2001. No part of it may be reproduced without the permission of the author.)

Conclusion

The development of very early cinema in Exeter had obviously been different to that of London and, as a result, seemingly different to that in the rest of the country due to historical works placing such importance on the capital. However, the manner in which the showmen adjusted their programmes and the fact that these changes occurred at times when the public in Exeter were looking for something different indicates that the progress in the city was not vastly different to that in other provinces. In regards to reception, however, those in Exeter seem to have been particularly forward thinking regarding the cinema. Whilst in other places the cinema was a constant cause for concern, with council regulations and local leaders hindering its progress, in Exeter it was quickly accepted as a socially mixed entertainment. From its early admittance into the legitimate theatre, to the plea from The Western Times that all classes should watch the spectacle it was apparent that moving images in Exeter were going to be an entertainment for more than just the poor. This privileged position in society seems to have been maintained as films became more established with only one prime exception, the local magistrates, offering a different opinion. That these opinions were quickly made to look foolish by both the Express and Echo and, most importantly, the Chief Constable, shows just how accepted the cinema was in society.

As cinema began to find itself a purpose built home, so the situation in Exeter became more standardised. The timing of these first buildings, and their architectural conditions, were matched by hundreds of others across the country. Their programmes can also be linked to the shows provided by cinemas in both London and other provinces. Yet the situation was, at the same time, caught somewhere between the big city and provincial city environment. Although Exeter only had four specialist cinemas, its other venues meant that, per person, Exeter had one of the highest numbers of cinemas of all the County Towns in Britain.(193) What made this even more impressive was that these Exeter cinemas survived the war when around a quarter of all cinemas in Britain permanently closed.(194) These closures were a result of the entertainment tax and were particular prevalent amongst the smallest cinemas that relied on virtually full houses every night to maintain profitability. That the Empire, City Palace and Franklin managed to do this, even with the added advantage of being situated near to army billeting stations and war hospitals, is quite remarkable. The implication could therefore be that the cinema played a bigger part in society here – perhaps because the middle classes were that much more involved with them – than it did in areas that suffered cinema closures.

Although this study obviously indicates a progressive linear development of cinema, it must also be noted that there is something strangely cyclical about this history too. Whilst technological advances continued to improve the final presentation, the subject matter itself ultimately reflected that of the very early years. The development of the narrative film, of course, is hugely significant yet the Great War interrupted this. Indeed, whilst narrative films were still produced, many of the War features could be seen as little more than elaborate fake war films that had developed during the Boer War. Even the government's Battle on the Somme seems to have been a compromise between the fake war and "genuine peace" films of the turn of the century. For John MacKenzie, this return to the role of visual newspaper and propaganda medium was both a reflection of earlier years and a return to the confines of traditional entertainments:

The Boer War struck film at an impressionistic and tender age and helped to ensure that it would not slip out of established entertainment modes. The First World War resurrected yet again the attachment of popular culture to warfare and patriotism at just the time when film seemed to be diverting itself .. into more escapist forms.(195)

With the end of the war came the chance to move away from the established entertainment conventions again and instead of joining in the celebrations of the other venues, the cinemas established their new independence.

Most importantly, the local study has shown that there is no such thing as the definitive history of the British film. Whilst London is seen, perhaps rightly, as the centre of this development, many of the conditions that were encountered there were completely alien to provincial cities like Exeter. Consequently, only through the decentralisation of cinema study can the bigger picture, that is the picture that applied to the majority, be better understood.

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